Research Catalogue

an international database for artistic research

ARJAZZ – Journal for Artistic Research in Jazz is an international, digital, open-access and peer-reviewed journal presenting the current development of artistic research in jazz.

ARJAZZ presents multimedia publications and uses the Research Catalogue for submission, peer-review and publication processes. All submissions are subject to single-blind peer-reviews as well as a dialogue between author(s) and steering committee.

The International Network for Artistic Research in Jazz (INARJ) was founded 2019 in reaction to the increasing relevance of artistic perspectives in the academic discourses in jazz research. INARJ organizes regular symposia as a platform for knowledge exchange and connection between artistic jazz researchers worldwide.

ARJAZZ – Journal for Artistic Research in Jazz is published by INARJ in cooperation with the following universities (in alphabetical order):

Birmingham City University (BCU, United Kingdom) - hosting institutional platform
JAM MUSIC LAB Private University of Jazz and Popular Music (JMLU, Austria)
Koninklijk Conservatorium Brussel (KCB, Belgium)
Royal Welsh College of Music & Drama (RWCMD, Scotland)

Steering Committee:
Andrew Bain (Royal Welsh College of Music & Drama)
Mike Fletcher (Birmingham City University)
Monika Herzig (JAM MUSIC LAB Private University of Jazz and Popular Music)
Matthias Heyman (Koninklijk Conservatorium Brussel)
Michael Kahr (JAM MUSIC LAB Private University of Jazz and Popular Music)

Contact:
michael.fletcher@bcu.ac.uk
monika.herzig@jammusiclab.com
kahr@jammusiclab.com

• 1. First issue The first issue of ARJAZZ.

• 
  Editorial, ARJAZZ Journal for Artistic Research in Jazz 1 (May, 2025) (2025) author(s): Michael Kahr, Monika Herzig and Mike Fletcher published in: ARJAZZ - Journal for Artistic Research in Jazz
  Editorial of the inaugural edition of ARJAZZ Journal for Artistic Research in Jazz (May, 2025)
  open exposition comments (0)
• 
  “Blanton’s bass peels the ceiling six blocks away”: Elusive bass tones and historically informed jazz recordings (2025) author(s): Matthias Heyman published in: ARJAZZ - Journal for Artistic Research in Jazz
  One of the aspects Jimmie Blanton (1918–42), best known as Duke Ellington’s bassist between 1939 and 1941, has been most praised for is his tone, particularly its loudness, which has been characterised as “outsized,” “resonant,” “roaring,” and “huge.” While Brian Priestley (2009, 85) observed that tone is often “thought of as god-given,” I wanted to understand why and how Blanton’s tone was (perceived as being) different from that of his peers. I examined several possible impact factors, such as his performance technique and instrument, but found none differed significantly from those of his fellow bassists. Eventually, I (partially) found the answer by recreating Blanton’s music. In this exposition, I examine an experimental recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of a 1930s–1940s Ellington performance, both live and in the studio, in a historically informed way, for example, by using historically appropriate instrumentation, repertoire, location, recording set-up, and performance practice. The outcome revealed that specific changes in the orchestra’s seating plan were key to Blanton’s perceived superior tone. Using media samples, I review the preparation, recording process, and results, drawing on a combination of visual analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews with participants.
  open exposition comments (0)
• 
  Stretch: Spectral Theory in the Practice of a Jazz Quartet (2025) author(s): Piergiorgio Pirro, Maarten Stragier published in: ARJAZZ - Journal for Artistic Research in Jazz
  With this exposition, we share the creative process that led to the composition and performance of Stretch, a piece by a jazz quartet led by pianist Piergiorgio Pirro. We will show that introducing theoretical models and paradigms from spectralism as a “foreign body” into the workings of a small jazz band illuminates a complex network of factors at play in the band’s music making, leading to a thorough reconfiguration in which new instruments get built and played, old habits need to be unlearnt, uncommon interactions emerge and theoretical frameworks clash in practice.
  open exposition comments (0)
• 
  Empathic Speculation and the Comfort Zone (2025) author(s): Andrew Bain published in: ARJAZZ - Journal for Artistic Research in Jazz
  This chapter will detail the evolution of a set of improvised performances that explored Empathic Speculation in both live and studio settings. As a means to elevate musical attunement in live performance based on an atmosphere of musical trust that ‘allows for creative risk-taking, which can result in the production of spontaneous musical utterances’ (Seddon, 2005: 58), Empathic Speculation (Bain, 2021) describes a further level of interaction that attempts to encourage another member of the ensemble beyond their perceived musical boundaries; or ‘comfort zones’.
  open exposition comments (0)
• 
  Collected Creativities [ARJazz] (2025) author(s): Emma Hedrick published in: ARJAZZ - Journal for Artistic Research in Jazz
  When starting a composition, waiting for the fabled “inspiration to hit” can be unreliable at best and frustrating at worst. To investigate this issue, I look at how experts in other art disciplines approach the practice of creativity, specifically when beginning a new project, which, in composition, equates to starting a new piece. This paper explores how encounters with six creativity exercises originating from the disciplines of writing, choreography, and visual art can result in new possible approaches to jazz composition. The approaches explored include a Daily Method from author Julia Cameron, an Animal Method from poet Ted Hughes, a Haiku Method from authors Linda Anderson and Derek Neale, an Improvisational Method from choreographer Twyla Tharp, a Habit Method from choreographer Jonathan Burrows, and a Modeling Method from visual artist Austin Kleon. Throughout my research, I tested these six methods in my compositional practice and recorded the musical outcomes. I then shared three methods with musical colleagues to try before collecting their thoughts. In each method, I will recount my writing process using the method, my journal entries, and my overall thoughts. In the animal, haiku, and improvisation methods, I will also compare this to the experience of my colleagues. Each section will conclude with a musical work created from the method and my own evaluation of the resulting composition. The research demonstrates viable conceptual strategies for approaching jazz composition derived from other art disciplines and suggests that creative practice can be both accessible and sustainable over the long term.
  open exposition comments (0)